There are good movies, bad movies and weird movies. And once in a while there comes a movie that defies what you think you know about cinema. With chills running down your spine, you stare at the screen for the entire run. And when the lights finally come on, you sit still, stunned, every part of your body palpitating.
“Uncle Boonmee Who Can Recall His Past Lives” (shortened below as “Uncle Boonmee”), the first Thai movie ever to receive the Palme d’Or at the Cannes Film Festival, consists of vignettes of the eponymous character in his last days with acute kidney failure. I wish I were able to give a more detailed plot summary, but this is not a film that falls within norms. It is hardly a story, but rather a floating world of reality and mystique.
面对真正伟大的电影就是这样,无言以对。
就一部电影而言,这种观感对我来说大概只有第一次看塔氏的《镜子》,或是派拉让诺夫的《石榴的颜色》,与之类似。
影像化为意识,流淌,交错,停驻,融合,离散,循环往复。
历史与未来,前世与今生,臆想与所见,此间与彼岸,传说与现实,怪异与从容,混沌与清澈,热烈与静谧,视与听的砂和土构筑成绮丽的梦,矛与盾、天与地在这一刻得到调和,亘古不变的地平线消失了。
思绪和感官,在这一刻得到了短暂的统一,眼就是心,耳就是魂,无须触碰便可及到。埋藏在潜意识最深处的童年点滴悄然泛起,一切都似曾相识。
言语变得脆弱,你的行动变得既轻盈又沉重,声音开始变粗,变成呓语,周围的细小声响变得有趣起来,时间则越来越迟缓,胸腔里升起了一个小小的宇宙。。。。就像是抽了某种有着锯齿状边缘的绿色的可爱的小叶子一样,这是最接近的描述。
戛纳今年捡到宝了,这是一部杰作中的杰作。
在一个大师匮乏的年代,阿彼察邦·韦拉斯哈古显得尤为可贵——那是对电影本体无尽而真诚的追溯。
阿彼察邦的视听语言深受台湾导演蔡明亮的影响,他善于抓住热带雨林真实的空间中神秘写意的一面。在他的影片中各种或近或远的鸟叫虫鸣时间打破了画面的局限性,以暗示空间的无限延伸,各种旁生的枝节夹杂在电影的叙事中从而使得影片区别于商业电影线性叙事的神话。
比如在《能召回前世的布米叔叔》一开始,字幕就提出了“前世”的概念(面对丛林、山丘和峡谷,我的前世如同一只野兽,与其他生灵一同在我面前升起),接下来的一段表现一头水牛跑进丛林,而后又被主人寻回去的过程。整个过程将近五分钟,没有对话
《能召回前世的布米叔叔》一部真正献给风和鬼的电影
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